ABOUT PURPLES
by Vee Escobar
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| THE COLOR PURPLE
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Purple is a color which is pecularly difficult
to handle. Among purple are four main varieties:
crimson purple, deep purple, ruby purple, and purple #2.
Any of these colors will become more workable when a
small bit of deep blue green is picked up on the brush
along with it.
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| CRIMSON PURPLE
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CRIMSON PURPLE is, as its name indicates, more crimson
than purple. It is a very beautiful color, yielding a
rich crimson when thickly applied and a more purple tone
in thin washes. It can be used for the rich color on
white cyclamen, for many roses and pale asters and
especially for pansies. Mixed with turquoise blue, a
soft tender violet is the result. When mixed with equal
parts of dark blue it produces a fine purple that can
be used for crocuses, and for the little wild asters
that are so plentiful in the fields across the country
just before the frost comes. It is also the right color
for lilacs and will answer well for a pinkish clematis
for certain varieties of the fluer-de-lis, which are
nearer amethyst than actual purple, and for the columbine
thistle, pansies, and the corollas of fushia. In such
of the flowers mentioned that are inclined toward blue
rather than crimson, let the blue predominate.
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| DEEP PURPLE |
DEEP PURPLE is a rich color, the only one of all the
purples that represents perfectly the shade of the
celebrated Jacqueminot rose which was such a favorite
study for Patty Thum, F.B. Aulich, Catherine Klein,
Paul de Longpre, and other famous painters of an earlier
era. The deep purple gives the depth of tone found
in the middle of the petals; toward the edges that are
a little brighter, so for those parts use one-third
ruby purple mixed with the deep purple, or the ruby
purple used alone. As the backs of the petals are very
light where they leave the center, only a thin coat will
be needed, gradually increasing in depth as it approaches
the edges. Put on a smooth even coat of deep purple,
let dry thoroughly and with quick, deft strokes lay on
another thin coat to secure an even depth of color.
(The amateur shouldn't try this in one painting but
should fire between coats), but do lay on the coats as
smoothly as possible. Be careful to not apply the
paint too heavily, or there will be danger of its
chipping, for it requires a strong heat to develop it.
Two firings, of course would insure greater success.
When a very dark tone is required, a thin wash of
black can either be used over it or under it.
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| DEEP PURPLE
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DEEP PURPLE mixed with dark blue is admirable for plums
grapes, clover blossoms, violets and pansies. It is
often doubtful which is the best color to employ for
violets. As there are many kinds of violets, it is
difficult to give directions which will do for all.
For china decoration the flower should be rather light,
and yet bright in hue. From deep purple mixed with
dark blue for the deepest tones and turquoise for the
lighter, a very good color can be obtained. This shade
may incline to blue or red as the artist desires. Mixed
with turquoise, it can be used for wisteria; with ultra-
marine for clematis, with a touch of Copenhagen grey
for heliotrope; but for this purpose it must be used
very delicately, however, or it will be too strong; if
very much grey is used it will act as a flux and spoil
both colors. Deep purple used alone is excellent for
rich purple asters and for pansies. It is the most
expensive purple on the list, but all are somewhat costly
as they are made from gold. It is used by all practial
decorators for shading their yellows, as it strengthens
them, and prevents their firing off. Ruby is also used
with orange for shading yellow flowers. Mixed with
hair brown, it can be used for painting stems and thorns.
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| PURPLE #2
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PURPLE #2 is a very similar to deep purple, and
combines with the same colors. These purples, with oil, make
fine colors for grounding for cups and saucers, backgrounds
or bands; they are rich and effective.
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| ROYAL PURPLE |
This is a more decided purple than any of the
other colors. It can be used to shade itself, black
washed over it or under it makes it indispensable for
the rich tints found in painting of medieval draperies.
Mixed with blue it gives a hyacinth color. Its pure
pale tones are perfect for clover blossoms. Used with
blue and black a variety of dark purple grapes can be
painted. In using blacks with the purples and blues it
is better to apply it in separate washes and fire in
between, for black is a good glazing color, and if
mixed with the royal purple it sometimes acts as a flux.
taking all the life out of the colors. |